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NCAA Tournament 2014: Dance cards
Dance Card: Tennessee, SEC
The grande dames of the SEC aren't done yet.
By Queenie Mar 9, 2014, 7:00pm EDT
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Who? The Lady Vols of Tennessee.
What? Tennessee has a history of answering the call. Smokey is a blue tick coon hound who knows how to work a room. And now "Rocky Top" is stuck in my head. (And now it's stuck in yours, isn't it? Good old Rocky Top...)
Where? Knoxville, Tennessee, a repository of Appalachian culture, and no jokes about whether Appalachia has a culture.
When? March 9th, in Duluth, Georgia.
Why? They won the Southeastern conference tournament.
How? Tennessee roared to life in the closing minutes for their third comeback of the SEC tournament and a 71-70 win over Kentucky. Meighan Simmons notched 17 points to hit 2000 for her career, while Isabelle Harrison added 16 and Jordan Reynolds had 11 off the bench.
Surprise? Predicted to finish first in the conference, they ended up in second, one game behind South Carolina.
RPI: 5
SOS: 4
Record: 27-5 (13-3 Southeastern)
Good wins: At North Carolina, or South Carolina at home. Take your pick.
Bad losses: At Vanderbilt or home to LSU. There's nothing horrifying up in here.
Who's running this show? Holly Warlick, since 2012. Go back Pat, then come back to this preview.
Extra, Extra! Not that UT is serious business in Knoxville, but the News Sentinel has a devoted sub-site for Tennessee sports. Our cohorts over at Rocky Top Talk can probably go into a bit more detail about this Tennessee squad.
Senior guard Meighan Simmons leads the Lady Vols in scoring (16.1 points) and statistical analyses (Q can provide examples). The most impressive Lady Vol this season, though, has been junior center Isabelle Harrison, averaging 13.9 points on 58.5% shooting and 9.5 rebounds. Tennessee showed flashes of the old grit in the SEC tournament- can they keep it up in the Big Dance?
Random thing that pleases me: Andraya Carter, forcing more turnovers than she commits. I've also tried to keep an eye on Cierra Burdick since she kept her head so well during the Tennessee-Baylor brawl a couple of years ago- at that time, she had fantastic poise for her years.
For more on their conference tournament run, check out our 2014 SEC women's basketball tournament storystream.
2014 SEC Women's Basketball Tournament: Tennessee wins conference championship
Tennessee's motivation against Kentucky
Video: Meighan Simmons on staying aggressive
2022 WNBA Draft Watch: NaLyssa Smith NaLyssa Smith has been one of the country's top power forwards for quite some time now and she's only getting better under first-year Baylor head coach Nicki Collen. Can she challenge Rhyne Howard for the No. 1 overall WNBA Draft selection in 2022?
2022 WNBA Free Agency: Phoenix Mercury The Phoenix Mercury have a supermax player in Diana Taurasi and two players in Brittney Griner and Skylar Diggins-Smith who are just $194 off the supermax, leaving them with a tough task ahead.
Jeff Walz captures win 400 After allowing a season-high 71 points to Syracuse, the No. 3 Louisville Cardinals clamped down on the Boston College Eagles.


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01733 246 990	Free Site Survey
Disabled Refuge
Maintenance & Monitoring
Gent Fire Alarms
Fire Alarm Installation at ELeather, Peterborough
If the shoe fits: Honeywell Gent and Britannia Fire & Security Ltd fit out ELeather with bespoke fire safety system
After signing a new commercial partnership, ELeather needed a custom-built manufacturing facility. Britannia Fire & Security Ltd. was called in to design and install a new fire alarm safety system, based on Honeywell Gent technology.
ELeather is a pioneering creator of sustainable, engineered leather. Taking unused leather from tanneries that would otherwise be sent to landfill, the company transforms it into high-quality products for a range of sectors worldwide.
A partnership with one of the world's leading performance footwear brands saw ELeather recruit Winvic, a multidiscipline construction specialist, to build a new factory for the manufacture of athletic training shoes. And of course, this purpose built facility required the full spectrum of fire safety infrastructure to ensure both staff safety and regulatory compliance.
One year before the new site was scheduled to open, Britannia Fire & Security Ltd was commissioned by electrical contractor EBM Electrical to manage design and installation of the new fire alarm system.
Plans for the site featured a large production area, as well as an office located at the front of the building. British standards require that companies fit fire alarms throughout, as well as a site-wide aspirating solution capable of detecting smoke particles in any location.
Both buildings presented Britannia Fire & Security Ltd with unique challenges. Very high ceilings in the production areas, as high as 19 metres in some places, meant installing pipework demanded the use of specialised equipment and personnel. Further, ongoing maintenance requirements meant devices needed to be accessible, allowing for the regular testing regime recommended by industry regulators.
Finally, ease of use and integration were crucial. As a commercial operation featuring a mix of both open and closed spaces, as well as the use of heavy machinery, the solution needed to connect with a wide range of external systems to ensure advanced safety features would activate in the event of a fire alarm.
Following a full review of the site's footprint and usage, Britannia Fire & Security Ltd concluded that the quality and innovation provided by Gent technology represented the best solution for ELeather's new facility. The two companies then closely collaborated during planning, specifying a bespoke system to ensure safety and compliance across the entire site.
During this stage of the process, it was discovered that ceiling voids contained more beams than originally estimated, particularly in the office areas. British standards dictate that if beams occupy more than 10 percent of a void, it should be classified as a separate bay, each requiring its own detector.
Ultimately, this void detection identified 149 voids and resulted in the site requiring an additional 140 sensors. In total, the project would see approximately 500 devices installed on-site. In addition to fire alarms and the aspirating system, sounder beacons were deployed throughout production areas, and call points next to every fire escape.
Once plans were approved, the value of this in-depth specification process became clear. Not only did installation come in within budget, it was completed ahead of schedule. Steve Burgess at Britannia Fire & Security Ltd, said "Engineers love using Gent technology for two key reasons. First and foremost, it's easy and intuitive to work with, ensuring smooth, error-free implementation. Second, the built-in intelligence it provides allows for sophisticated networking of systems, facilitating complex cause and effect protocols for optimised and automated site safety."
The ELeather project involved significant, site-wide integration. The additional safety features this provided include automatic shutdown of lifts and gas in the event of an alarm. Moreover, high-speed shutters are activated to prevent the spread of fire throughout the facility. Requiring special commissioning engineers to install, the combination of Gent's technology and Britannia Fire &Security Ltd expertise simplified these complicated IT requirements, providing ELeather with a best-in-class fire safety system for its new facility.
Since completion of the project, the site has been fully accredited, confirming compliance with all relevant standards.
Why Choose Britannia?
Established in 1998 Britannia Fire & Security has a reputation for quality and expertise. We provide a comprehensive range of fire alarm systems and security services to offices, schools and commercial businesses across Peterborough, Cambridgeshire and throughout the UK. We hold ISO 9001, 14001 and 18001 accreditations.
For a free site survey or more information on how we can help your company, contact us on 01733 246 990.
Recent Projects:
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info@britanniaalarms.co.uk
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Vietnam: Who is more frightened – government or people?
Partyforumseasia: The Roman Empire knew how to rule over not fully convinced people, at least for long periods. The realistic slogan "oderint dum metuant" (they may hate us as long as they fear us) expresses their approach to strong government.
1. Is there less fear in the younger generation?
2. How are fear and respect related?
3. Can authoritarian governments get more respect with less fear?


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Sony Sold 4.2 Million PSVR Headsets
Ian Hamilton
Sony officially cleared a new sales milestone of 4.2 million headsets sold through March 3, 2019.
Sony is the only wired VR headset manufacturer to release actual sales figures. Samsung released some sales figures for its Gear VR headsets, but those systems offer a different caliber of experience compared with PlayStation VR.
We last heard Sony cleared 3 million headsets sold in August 2018. The headset first went on sale in late 2016. The PlayStation Aim controller (above) was released in 2017 with support in some VR shooters. Astro Bot, Beat Saber and other games have clearly driven sales for the system into 2019.
A Sony livestream today announced a series of new VR games coming to the system in the next few months, including No Man's Sky and Five Nights At Freddy's.
We're of course curious what the future holds for Sony's VR system. The PlayStation Move controllers and single sensor used with the PSVR system could be improved dramatically in a second generation of hardware. Oculus just announced its second generation Rift S and we're curious if Valve will follow through with a new generation of headset powered by its technology.
Sony is due to provide updates on a potential PS5 system at some point. We're anxious to hear what is in store for the company's VR hardware efforts. In particular, 4.2 million PSVR headsets means Sony is incredibly well positioned to build a strong second generation that could improve upon the experience of games from the first. We'll update you as soon as we hear what Sony has in store next.
Sony Has Officially Sold Over One Million PSVR Headsets
The coveted race to one million VR headsets was technically won previously since the Samsung Gear VR,…
PSVR Passes Three Million Headsets Sold Worldwide
Sony's PlayStation VR (PSVR) headset has sold over three million units worldwide. The company announced…
Sony Sells Nearly 1 Million PSVR Headsets
Sony revealed official sales figures for the PlayStation 4-powered VR headset, PSVR. Through Feb. 19…
Categories Featured PSVR VR Industry News
Ian Hamilton is a journalist based in Southern California and managing editor at UploadVR. He's covered VR full-time since 2015 as well as Oculus VR since 2012. He is interested in the people creating VR and AR hardware and software, their motivations, and how that work affects the people who spend significant time in simulated space. If you have information to pass along you can send him a direct message on Twitter, Facebook or via email.


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Major Tourist Attractions: Arenal Volcano, Manuel Antonio National Park, Corcovado National Park, Celeste River, National Theatre of Costa Rica
Costa Rica Travel Insurance
Arch RoamRight offers travel insurance for U.S. residents traveling to Costa Rica. Whether you need travel insurance to help protect the expenses you've paid into your vacation, or short-term travel medical insurance while you're in Costa Rica, we have several travel insurance plans for you to choose from. Get started by completing our quote form above.
About Costa Rica
Known for their sustainable and eco-tourism efforts, traveling to Costa Rica is a must for all travelers. Microclimates are found throughout the countryside with colder cloud-forests filled with organic coffee farms and lowland beaches brimming with the calls of howler monkeys. Costa Rica is hailed as a nature lover's playground and an adventure traveler's haven. Relax in 5-star/5-leaf resorts, take a canopy tour, zipline through the rainforest, learn how to surf, or go whitewater rafting. The adventure options are as bountiful as the lush countryside.
In the 1980s and '90s, Costa Rica led the ecotourism movement around the world and even today nearly half of all visitors are there for the unique biodiversity the country offers. Although it's a small country, representing just .03% of the world's landmass, it contains 5% of the world's biodiversity. That's an amazing level of natural diversity and Costa Rica has worked hard to showcase it in ways that are both responsible and ethical.
The greenest country in the world is also a mostly stable and safe one to visit. While many neighboring countries underwent intense periods of political strife and turmoil, Costa Rica managed to avoid these events. With a strong economy regionally and an understanding of the importance of tourism, travel to Costa Rica is both fun and safe.
Walk through the cloud forests amongst monkeys, sloths, tapirs, and wild cats.
Enjoy some of the best bird watching in the world.
Hang ten at one of the many great surf spots on the coast
Costa Rica is famous for its ziplines and you'll find them everywhere
Test your strength river rafting
Visit one of the most active volcanoes in the world, Volcan Arenal
Let loose in the beach-front town of Dominical
Sample the national dish, gallo pinto: mixed rice and beans served with eggs and tortillas.
Go for a swim under one of the hundreds of waterfalls around the country.
Address: Calle 98 Vía 104
Pavas, San José
From the U.S.: 011-506-2519-200
View All Posts for Costa Rica
Capital: San Jose
Climate: Tropical, Subtropical
Currency: CRC - Costa Rican Colon
Dialing Code: 506
Drives on: Right
Internet Top Level Domain: .cr
Land Mass (km2): 51100
Official Language(s): Spanish
Plug Configuration: AB
Population (est): 4,695,942
Time Zone (of capital): PST (UTC/GMT -8 hours) NO DST


Shanghai SIPG and Guangzhou Evergrande both set themselves up for next weekend's winner-takes-all clash with comfortable Chinese Super League victories on Sunday.
League leaders SIPG bounced back from last weekend's disappointing 0-0 draw at Jiangsu Suning – a result that cut their advantage at the top to just two points – with a 4-2 home win over Shandong Luneng.
Wu Lei got the hosts off to the perfect start with the opener after 17 minutes, before Hulk scored two penalties – one after 28 minutes and the second in first half injury time. At this point, it looked as though SIPG would cruise to victory and perhaps improve their goal difference yet further in the second half, but Luneng dug deep and almost pulled off an impressive comeback.
Italy international Graziano Pelle, who has enjoyed a fine season, reduced the deficit to 3-1 just before the hour mark and then grabbed his second of the game, and 14th of the campaign, with five minutes remaining. The visitors then threw everything they had at Yan Junling in the home goal, but could not find an equaliser. As a result of pushing men forward, Wu then took advantage of gaps in the Luneng defence to score the 100th CSL goal of his career with 90 seconds remaining to seal the win for Paulo Sousa's men.
Earlier in the day, there were no such wobbles from Evergrande as they cruised to a 3-0 win at bottom club and virtually-relegated Guizhou Hengfeng. The reigning champions have now won 10 of their last 11 league fixtures and are refusing to give up their crown without an almighty fight.
Zhang Chenglin had them a goal to the good at half-time, before second half efforts from Yu Hanchao and Anderson Talisca – the Brazilian's 15th goal in as many games since arriving on loan from Benfica – secured one of the most straightforward wins of the visitor's season.
For Hengfeng, on the other hand, relegation is now all but assured. They are six points adrift at the foot of the table with three games remaining and, having won just six times all season, will require a minor miracle in order to avoid the drop into China League One.
At the top, SIPG lead the way and are two points ahead of Evergrande. The two clubs meet on Saturday, with the winner more than likely to then go on to secure the championship. The game, which will be held at SIPG's Shanghai Stadium, is the most eagerly anticipated Super league match for years as there could be a different name on the trophy for the first time since Shandong Luneng in 2010.
Elsewhere on Sunday, Henan Jianye dragged themselves back into survival contention with a 2-0 win over Beijing Guoan. They are still in 15th position, but now sit level on points with both Tianjin TEDA and Chongqing Lifan. Guangzhou R&F are just a point better off, as the relegation battle threatens to go right down to the wire. TEDA lost heavily again, this time to a resurgent Shanghai Shenhua side that have dispelled any relegation worries with three wins and a draw in their last four encounters.
However, it could have been so different. TEDA led 2-1 when Frank Acheampong had the chance to extend their lead. However, the Ghanaian missed and Shenhua equalised just before the break. Two goals in the last five minutes then gave the visitors the 4-2 win and leave TEDA in all kinds of trouble.
Tianjin TEDA are now only above the relegation zone on goal difference thanks to their 4-2 home defeat by Shanghai Shenhua on Sunday.
On Saturday, Lifan grabbed a crucial 2-1 victory at Changchun Yatai to move on to 28 points, but Guangzhou R&F were thrashed 6-2 at home by Tianjin Quanjian. Alexandre Pato helped himself to a hat-trick as Quanjian recorded their first win in any competition since August 24. R&F meanwhile continue their alarming slide down the table and have now lost their last five league and cup games. Their game at Hengfeng next weekend is now crucial to the club's chances of survival.
Saturday's other matches saw Hebei CFFC beat Dalian Yifang 3-2 to move seventh and Jiangsu Suning win 2-0 at Beijing Renhe.
All the goals from Round 27 of the 2018 Chinese Super League.


Over the last week, our services have been spotty. We've been dealing with some amazingly ridiculous issues.
OK, so many people like those Facebook games, right? Harmless fun and all that, correct? What about when things go wrong?


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The London tourist and visitor resource
The V&A Museum of Childhood in Bethnal Green in the East End of London is a branch of the Victoria and Albert Museum (the "V&A"), which is the United Kingdom's national museum of applied arts.
The museum was founded in 1872 as the Bethnal Green Museum, reusing a prefabricated building from Albertopolis which was replaced with some early sections of the modern V&A complex.
It was used to display a variery of collections at different times, including the works which can now be seen at the Wallace Collection. In the 1920s it began to focus on services for children, and in 1974 the director of the V&A Sir Roy Strong defined it as a specialist museum of childhood.
Of all the branches, the Bethnal Green Museum has the largest collection of childhood objects in the United Kingdom.
The mission of the museum is "To enable everyone, especially the young, to explore and enjoy the designed world, in particular objects made for and made by children." It has extensive collections of toys, childhood equipment and costumes, and stages a programme of temporary exhibitions.
The museum closed in October 2005 for the second phase of extensive renovations.
The Museum will reopen at midday on Saturday 9 December.
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Asian Investing Summit 2019 consists of five live sessions and more than two dozen sessions recorded in recent days. The live sessions take place on Thursday, April 11 and Friday, April 12.
Live sessions are typically available for replay within 24 hours. All session recordings and materials remain accessible to members for an unlimited time.


We always love to poke around Mark Stacks of Tin Woody Photo's web pages to see what's new. We have featured him several times already and hope there will be many more features to come.
I go everywhere looking for cars to photograph, shows, rural farms, industrial areas, back alleys, if there is a chance of finding automobilia, I'm there. It really makes life a never ending treasure hunt. American cars from the 30′s, 40′s and 50′s will always be my favorites, but when it comes to taking photos, anything that has character and personality is a worthy subject.
His worthy subjects have made us look at things in a whole new light. Mark can focus on the details in such a way that he can recreate the essence of what he is shooting. The clarity of the details and the vibrant colors draw us in and keep us begging for more.
This entry was posted in Automobiles, Cars, Kustom Kuture, Mark Stacks, Rockabilly, Rockabilly Rides and tagged 1950s, Classic cars, Culture, Hot Rods, Kustom Cars, Kustom Kulture, Kustoms, Mark Stacks, Photography, Rat Rods, Tin Woody Photo. Bookmark the permalink.


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Meistersinger on Disc
the Strongest Entries
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MEISTERSINGER ON DISC -- THE STRONGEST ENTRIES
--Geoffrey Riggs
Part I -- Top ten:
Out of roughly thirty readily available Meistersingers, there are now, I feel, ten competitive entries.
[in chronological order]
1. In 1936, from MUSIC & ARTS, we have a "live" Met broadcast, featuring Friedrich Schorr, Elisabeth Rethberg and Rene Maison, under Artur Bodanzky. This is a lively, thoroughly engaging performance with vivid characterizations and wonderful singing throughout. Schorr's warm, consoling vocal "face" for this role, his always lively imagination and mercurial projection of the character's many moods, plus his caressing vocalism and ever-alert sense of poetry, place his Sachs in a class by itself. One feels one is privy to Wagner's own imagination in Schorr's reading. A treasure, which we are highly privileged to hear nearly seventy years after it took place! The rest of the principals are nearly at the same exalted level, and Bodanzky's conducting is keen and taut. The cons here are fair sound only and dozens of cuts in the performing edition the Met was using at the time.
2. In 1937, from ANDANTE, there is the Toscanini set, which has the advantage of almost as strong a cast as in #1 and is heard in significantly better sound. It is a transfer from a film sound strip(!) (alas, no cameras were there) of the 1937 Salzburg production. I have heard some perfectly horrendous-sounding transfers of this performance on LP -- and CD, I believe? -- but Ward Marston and Seth Winner have now done an amazing job of taking the original strip, once and for all, and restoring it beautifully. No, it's not real high fidelity, and it's in mono, of course. But it now sounds like the sound track of a reasonably decent and professionally made Hollywood movie from the 1930s (think Gone with the Wind or Wizard of Oz) -- astonishing, when you think about it. There is, for the first time, real space and dynamic range in this recording, and I now find I can respond to it as if I were sitting right there in the auditorium rather than merely picking my way through a series of inchoate sounds. There are places where this new restoration of the Toscanini reminds me of early 1950s mono! But enough moments of distortion still crop up from time to time to remind one of just how unusual and improvised this preservation of true opera history really is. Comparing it to some '50s mono sets, the top three principals of the second Kempe are not as consistent as in the Toscanini, while the overall cohesiveness of the second Kempe is still superb enough nevertheless to warrant its being placed in the very front rank of the top five available Meistersingers. At the same time, the Knappertsbusch/Shoeffler set has that same cohesiveness, but its surprisingly constricted sound (for its period) actually defers to this new Toscanini issue at isolated moments, while its principals reach occasional peaks not heard in the Toscanini lineup, but still offset by inequalities not present in the Toscanini. At the very least, the Toscanini, with its occasionally-as-good sound and generally more consistent cast, deserves equal consideration. It is now a central entry, thanks to Marston's and Winner's diligence. The critical Sachs/Eva/Walther trio of Hans Hermann Nissen/Maria Reining/Henk Noort is consistent and sure in the Toscanini, and Toscanini's own conducting complements that strength. Reining and Noort are never less than good, while Nissen seems at ease in Sachs's skin, even though he may not have the haunting autumnal insights of the greatest in this part. Best of all, unlike many Wagner performances from this period, this performance is uncut. The ANDANTE release is a luxury offering with in-depth articles and a full libretto with translation. Another useful point of comparison here would be the Solti II (see below): like the Solti II, this Toscanini entry also has a flawlessly musical cast throughout, while Toscanini has, in addition, that knack of capturing all of the score's geniality that (just) eludes Solti (sometimes). Thus, as a performance, it has all the artistic virtues of Solti II and then some(!), though not the superb engineering of Solti II, this being a (however well restored) 1937 recording, not a state-of-the-art 1995 CD. The comparison with Solti remains apt, since Solti "cut his teeth" as an assistant conductor at the Salzburg Festival under Toscanini. Solti inherited Toscanini's musical discipline, if not all his sunny spirit.
3. In the early '40s, under Abendroth, we have a lively performance featuring the other great Sachs, Paul Schoeffler, in his absolute prime. Most of the other principals, including the underrecorded Hilde Scheppan as Eva, sound fine as well. This is also in good sound. If you find it hard to enjoy Schorr's Sachs in compromised sound and with performance cuts, then here's a chance to enjoy uncut the entire work with a fine Sachs, Paul Schoeffler, in his absolute prime, who also dominates with almost as lively and beautiful an interpretation as anything you hear in Schorr. Enjoying Sachs's music in this way, uncut and in good sound, places this set in a class of its own. Where I find this one wanting -- and some may demur -- is in Ludwig Suthaus's Walther. It is clear that Suthaus is still in his youthful prime, but I find the role a bad fit. However fresh his instrument, too much of the high-lying music emerges in an effortful manner, and heard through two or more playings, this can sometimes cast a pall over continued enjoyment of the performance as a whole -- for me, anyway. Another aspect that sometimes bothers me a bit less, although I deeply respect and can readily understand those who might find it much more troubling, is the period and country in which this performance takes place: Nazi Germany. For some, this aspect can make people's blood run cold. And I can't say I'm ready to blame them. Ultimately, though, it is tenor inadequacies that relegate this to being merely a strong entry rather than one of the very best.
4. In 1949, in a broadcast performance available only on specialty labels, we have, from Munich, one of the liveliest readings of all, conducted by Jochum in peak form. (This is distinct from Jochum's studio-made recording made many years later for DG in the '70s.) Hans Hotter leads the cast. His Sachs may be the most insightful of all, but while vocally assured elsewhere, he becomes uneven in the last scene, showing evident fatigue. Treptow is heard in his absolute prime, and I must say I enjoy his usually musical and well-interpreted Walther. No question his is not the bright easy kind of tenor best heard in this role. But I rarely find him off-putting here (the way I do Suthaus). Kupper's Eva, though, I do -- find off-putting, that is. An entirely unsympathetic vocal "face", registering far too much effort in one of the most deftly written roles Wagner ever conceived. What a shame. Jochum's reading is delightful and deserves an article in itself! Nothing is missed in a brilliant traversal. The vivid goings-on in every scene have the effect of animated conversation throughout, precisely what the earliest conductors who learned this opera from Wagner himself were consistently praised for. This conversational quality is the touchstone of the very greatest Meistersinger conductors, and Jochum has it for days! What a revelation. If not for his Eva............
5. The same lively conversational quality triumphs in Karajan's first set, "live" from Bayreuth, 1951. In fact, in many ways, this is the most thoroughly amusing interpretation as well. The humor in the work is always brought out effortlessly and naturally. Edelmann's Sachs is in the forthright Nissen mold rather than the more introspective one of his other predecessors. But one salutes a vocal resiliency that is greater than Nissen's(!), reaching the final moments with untiring resonance and vocal line. Schwarzkopf's Eva is also heard at its very best (possibly the best reading on disc?). The con here (there's always one..............) is Hans Hopf's Walther. His ungainly pummeling of this music is simply unacceptable. He may have a somewhat stronger vocal resiliency than Suthaus, for instance, but his approach and voice is less attractive. I really cannot take to him, and sincere regrets to any Hopf fans who may be reading this. That said, for a lively, amusing and well-directed performance, one could do a lot worse than this.
6. From 1950/'51, on DECCA/LONDON, we have, under Hans Knappertsbusch, the first set made in the recording studio. Surprisingly, the sound is relatively thin. It's hardly inadequate, merely not up to what one would have expected from DECCA/LONDON at the time. At the same time, it remains eminently listenable. Again, the conversational quality is truly caught. The unforced lyricism in much of the performance also achieves a naturalness that is welcome. And we have Paul Schoeffler's superb Sachs. Here, he may not be as fresh-voiced as for Abendroth, but he still shows expert control (with his vocal flexibility still sufficient for the divisions in the "Euch macht ihr's leicht"), and the sheer musicality and keenness of his Sachs are as welcome as ever. And he is in better company than for Abendroth. Gueden's Eva is a marvel and epitomizes the gemutlich qualities of most of Kna's principals, and, for a wonder, we even have primo tenore Anton Dermota delivering the goods with the most lilting David on disc! For Walther, we rehear Gunther Treptow, two years older than for Jochum -- and sometimes sounding older than that in Act III: The rehearsal scene with Sachs in the cobbler shop is sometimes disconcerting and does not wear well. Elsewhere, he's hardly objectionable, but he is simply not as natural or easy as for Jochum. If there's a flaw in this set, it would be that rehearsal scene. Both this studio set from Vienna and Rudolf Kempe's second studio set (on EMI, see below) catch the geniality of this score, sometimes better than Toscanini. The singers on both, particularly when it comes to the tenor doing Walther, are not as consistent or assured as on the Bodanzky, the Toscanini, or the second Solti. They are still very good, particularly on this Kna, just not as amazingly consistent as on these three others. Nor is the mono sound on the studio Kna and the Kempe II as good as any of the stereo sets further on.
7. In 1952, we are back to a "live" performance. This time, it's Bayreuth, and in the pit is, once more, Hans Knappertsbusch. This is an even greater reading from him than we hear in DECCA/LONDON's recording studios! His cast is not at the same exalted level, but it's rarely bad. Edelmann repeats his stalwart Sachs, and this recording affords a rare opportunity to sample Lisa Della Casa's Eva: a bewitching Eva, and one of the most sympathetic available. This was, of course, the same Bayreuth production as the Karajan a year before, so we shouldn't be surprised, though disappointed, to find Hopf repeating his wearying Walther. This recording showcases, all told, a wonderful reading of the score from Kna -- possibly the finest reading from anyone on disc save Wilhelm Furtwaengler's, which is available only with a dismal Grade-B cast, so off-putting as to preclude itemizing it in this roundup at all. There is nearly dismal and then there is somewhat flawed: Maybe this Kna set at Bayreuth does not have as fine an overall cast as Kna's fine studio effort, but it's still distinguished enough in various aspects additional to its inspired conducting to be somewhat flawed only. The Furtwaengler, on the other hand, has little to distinguish it aside from Furtwaengler's unique contribution (there are also some missing sections in the only known source), making it easier to appreciate truly superb conducting in this "live" Kna reading than in the generally disappointing Furtwaengler, whose cast flirts with the purely dismal at times.
8. From the mid-'50s, on EMI, we have the last of the thoroughly conversational readings: Kempe's second Meistersinger is as inspired in this regard as Jochum, the young Karajan, or Knappertsbusch -- and Kempe has a genuine warmth all his own. His cast is generally excellent as well, and I can understand why many regard this as the best set of all. Frantz's Sachs, although vocally strong, is not as vocally fresh here as Edelmann's, although a more apt interpreter (Frantz is that fresh plus the same more apt interpreter in an earlier Kempe set unfortunately hobbled by an especially ungainly Walther, I feel). Gruemmer's Eva sports a lovely vocal quality and the inborn vividness of a true actress. When luminaries like Gustav Neidlinger, Gottlob Frick, and Hermann Prey (as the Nightwatchman!!!!!!!!!!), and so on, are heard in supporting roles, one has to acknowledge this set as something very special indeed. Rudolf Schock's tenor voice is more suited to this role than that of some of his predecessors like Suthaus or Treptow, but I stand in a minority in that I find the strain heard in Schock's singing even more disconcerting than Treptow's on the studio Kna. As I say, I recognize this as a minority opinion, but I feel that, ultimately, Schock's occasional struggles simply compromise the phrasing and the music more than do Treptow's, the latter seeming marginally more in control to me. Schock still seems more attractive in this role, though, than Hopf.
9. From 1967 comes the Kubelik set. Here I wholeheartedly admire the warmth and naturalness of Kubelik's music-making, even though the Kubelik reading -- more perhaps because of the vocally luxuriant qualities of most of Kubelik's principals than because of Kubelik himself -- does not have as universally conversational a quality as some other sets, veering more toward the oratorical -- though not in a bad way; and with that special warmth of his, Kubelik more than compensates for bringing a slightly less conversational quality to this set than we hear in a few others. Definitely, opt for the ARTS ARCHIVES CD issue, which eclipses all other issues of this set. At the same time, the Kubelik's place in the discography may have been challenged in certain respects by the ANDANTE Toscanini, but not in all. At the least, the Kubelik is already one of the most satisfying readings I know, and it's good to have this in decent sound, now that there is the ARTS ARCHIVE CD. Kubelik's way with the score captures its midsummer feel to perfection, and his principals parallel this inviting approach to what is, after all, a comedy of manners -- with heart. Particularly welcome are the refulgent sounds of Gundula Janowitz and Sandor Konya as Eva and Walther. Brigitte Fassbaender's Magdalene is not far behind them, and Unger still sounds almost as youthful a David as in his earlier reading on Kempe's second recording (for EMI). The rest of the cast is generally satisfying as well. Stewart's Sachs is strong and musical and accords well with the sense of humanity of Kubelik's other principals. There are certain passages he sings beautifully: pages and pages of lively projection of one of the most likable characters in the canon. That counts for a lot. At the same time -- this being from a series of live radio broadcasts, albeit without an audience -- he gets somewhat fatigued and unsteady by the end of the last scene. Also, dipping into the slightly-past-his-prime-but-still-musical Paul Schoeffler on the studio Kna reveals the extent to which a Stewart is not quite as natural in this music as a supreme Sachs (like a Schoeffler or a Schorr) can be. I find that Stewart's somewhat hyper (undoubtedly committed) Sachs can sometimes please, sometimes disturb. Yes, it's an expressive, richly inflected reading, but when Sachs's final peroration to Walther founders on one or two unsteady tones, we are reminded that even the greatest singers are only human. As it is, his contribution is clearly more positive than not. Again, the Toscanini lineup is a useful point of comparison. The supporting performers under Toscanini may not be quite so consistent as Kubelik's (though never less than respectable), but the critical Sachs/Eva/Walther trio is better balanced in the Toscanini. I still prefer Kubelik's conducting to a degree, but the overall effect of the Toscanini reflects a surer _artistic_ whole, I feel. That is a headline in itself, since this Kubelik set, purely as a performance, has always seemed the finest artistic achievement in the discography anyway -- and now, artistically, the Toscanini equals it! Yes, Janowitz and Konya's peaks in the Kubelik may sparkle even more than Reining and Noort with Toscanini, but Reining and Noort are never less than good. The Kubelik with its better sound is still the most revealing and well-prepared reading of the score in stereo. That puts it in a very special niche. No question. Neither the Toscanini, the studio Kna, nor the second Kempe can match the Kubelik combination of a genial way with the score and stereophonic sound. With this recording's rare combination of both attributes, many find this recording the most enjoyable of all. And ultimately I'm inclined to agree.
10. From 1995, on DECCA/LONDON, we have, in Solti's second Meistersinger recording, the most consistent trio of principals in any uncut reading since 1937 and Arturo Toscanini. Van Dam's Sachs may not have the rolling orotund vocal quality of the greatest bass-baritones heard in the part, but Van Dam's refinement and insight, his sense of the poetic, and, above all, his invariably disciplined shaping of the music, stamp him as one of the fine ones. I recognize this take on my part as not necessarily a prevailing view. Some believe that Van Dam brings out too much of the philosopher/poet at the expense of the cobbler. But I believe that the cobbler is not necessarily short-changed, merely placed in a less conspicuous perspective. (Sometimes, I believe that too many others with the requisite burly tones have inadvertently short-changed the philosopher/poet faaaaaaar too much!!!) And in a way, Van Dam's emphasis may be thanks to Van Dam's own intelligence and self-awareness vocally. Recognizing that his tones are not as burly as others, he may have deliberately decided to make Sachs _the_ philosopher of the Mastersingers circle. Of course, Schorr and Schoeffler already do this to an extent (listeners steeped in later and gruffer readings tend to overlook this), but Van Dam is the first to do this so overtly in modern times. And I welcome this as a necessary corrective. The musically disciplined quality in Van Dam is typical of everyone else in the cast. Mattila and Heppner are clearly a bel canto pair of lovers, and one has to wonder whether anyone has ever sung Pogner with more "Golden-Age" sound than Rene Pape. Solti's reading, though, is the antithesis of the conversational Karajan, of Kempe, what-have-you. This Meistersinger is _serious_, with a high sense of purpose and decorum in all its characters. It is not unfelt at all, but what the characters say here is rarely offhand or intimate in the way we hear from others. These are characters reflecting a consistent aristocracy of spirit that can sometimes be touching and sometimes be distancing. It's not the way I'd always want to hear the score, but it's not necessarily wrong for all that. An interesting alternative view, complemented by music-making as superb as we can ever expect to hear. I find it one of the finer sets available, frankly, not least because of the unfailingly musical cast throughout. I also feel that Solti's unexpectedly lyrical way with the score in his second Meistersinger deserves acknowledgement. However, Solti's second recording, fine as it is, might not be _the_ one I'd pick. That is primarily because of one particular factor: geniality again. Other readings have more of this elusive quality (while, unfortunately, Solti's first effort has other far graver defects). Both the studio Knappertsbusch and Kempe's second set simply capture this more. But the singing on them, especially the Walther, is not as consistent or assured as here. And here, one is grateful to have such consistently fine and "Golden-Age" singing in such state-of-the-art fidelity -- for a change!
Part II -- Also-Rans:
Before getting to the more detailed reasoning (below) behind my (strictly subjective) rankings of these top ten (cited above), there are five additional sets that are occasionally cited by collectors as well, for being special in some way, but that I personally find too seriously flawed in one way or another to be seriously considered among the top ten. Effectively, this overview here of these five constitutes all the reasoning needed for not giving them further consideration in Parts III & IV of this survey:
A) "live", 1939, under Erich Leinsdorf, from the MET. If the usual
solid ensemble typical of this period at the MET were reflected in this
set, I'd be readier to overlook its many cuts. But since we already
have the superb trio of Schorr/Rethberg/Maison under Bodanzky (1936)
with similar cuts, the 1939 trio of Schorr/Jessner/Kullman with the less
than stellar Eva of Irene Jessner makes the problem of the many
cuts bulk larger in 1939 than in the better-cast 1936.
Hence, I include the 1936 but put aside this 1939.
B) "live", 1943, under Wilhelm Furtwaengler, from Bayreuth. This is
undoubtedly the best-conducted set on disc. But it is saddled
with an unsympathetic Walther in Lorenz and a hectoring, almost
more unsympathetic Sachs in Jaro Prohaska. These two flaws
plus a missing Quintet(!) place this as less than a considerable set,
despite its unparallelled conducting.
C) "live", 1963, under Joseph Keilberth, at the Munich State Opera.
I've never been much of a fan of Keilberth's conducting (save for his
fine Freischuetz recording), but at least this set does have the
rudiments of a sense of occasion to it. Unfortunately, Keilberth's
conducting still strikes me as more pedestrian than not, with certain
singers providing most of the excitement. Certain singers, not all.
Jess Thomas's Walther is very exciting, possibly the last time we
hear him on disc with a flawlessly steady tone. And Claire Watson (Eva)
is an underrecorded artist who usually makes a distinguished
contribution and whose singing here provides ample reason for
gratitude. Unfortunately, Sachs is just too important to overlook, and
Otto Wiener's Sachs here strikes me as altogether unlistenable. For
once, I won't go into details: I'll simply say that I've never
heard a more ineffective or less musical interpretation. It doesn't
help that Hans Hotter's Pogner also shows minimum vocal control.
D) studio, 1970, under Herbert von Karajan, with the Dresden State
Opera. Karajan is capable here of bringing out much of the lyricism in
the score, and the sound quality is superb as well. He also has a superb
pair of lovers in Helen Donath and Rene Kollo (his finest recording).
But this set lacks the wonderful spontaneity and liveliness of
Karajan's earlier set from Bayreuth, and I plead guilty to being one of
those who has always found the guttural tones of Theo Adam a major
trial. It doesn't help that we have both antagonists, Sachs and
Beckmesser (Geraint Evans), performed by singers who appear to
give themselves over entirely to knee-jerk antimusical shtick whenever
they spar. Tiresome, predictable and sloppy. No thanks.
E) studio, 1993, under Wolfgang Sawallisch, with the Munich State
Opera. As with Furtwaengler, we have a fine conductor here, Sawallisch
(though probably not on quite the same exalted level as Furtwaengler)
leading a warm, loving account of a score that deserves more consistent
singing than it gets here. Fortunately, as with Karajan ('70), there is
a superb pair of lovers, Cheryl Studer and Ben Heppner. In fact, as far
as pure vocal lushness goes, these two are even more attractive than
Donath and Kollo. But once past Studer and Heppner (and a sonorous Kurt
Moll as Pogner), things get dire: I find Bernd Weikl's Hans
Sachs a sad example of a once-fine voice way past its prime, with
minimal steadiness and line; and it is also tiresome hearing a David
like Deon van der Walt whose singing has always stuck me as
improvisational in the extreme (I may stand in a minority in this
regard). He reminds me of a bitter description that Wagner once gave of
an incompetent orchestra trying to go through the Tristan prelude for
the first time: going from note to note "like prospectors in a mine"!
Part III -- Summary, conclusions, [subjective] rankings:
Balancing all these factors, I would slot the Kubelik at the top tier, and I'd slot the Kempe II, the studio Knappertsbusch, theSolti II and the Toscanini as very slightly down a ways, although all of them are still more than acceptable introductions to this sparkling joy-ride of a work.
So there we have in the top tier:
The Kubelik on ARTS ARCHIVE.
The Kubelik has the best sound, some fine conducting, and the relatively strongest ensemble in high fidelity, giving huge satisfaction.
In the second tier:
Toscanini (on ANDANTE), Knappertsbusch (in the studio), Kempe (his second), Solti (his second).
All these sets I've occasionally slotted in at the top tier in the past -- and may do so again..............
The Toscanini has one of the best overall casts of any uncut set in the entire discography. However, even with the loving restoration on ANDANTE, its improved sonics still remain uneven enough from sequence to sequence to be occasionally disconcerting for some listeners, if not all.
The studio Knappertsbusch, though occasionally lacking optimum drive and intensity, shows true conversational genius at its best and has the most acutely penetrating and natural Sachs of all in Schoeffler, with an Eva, Gueden, and a Beckmesser, Doench, whose rapport with Schoeffler enhances an already cohesive sense of ensemble. The lovely tones of Dermota's David are icing on the cake, but the fatigue in Treptow's Act III rehearsal scene takes away some of the glow from the last act.
On the second Kempe, Schock's intrinsic type of tenor is apt enough for Walther to complement -- to an extent -- the sheer rightness of everything else in this set. If it was just a matter of Schock's intrinsic sound and not also a troubling matter of what he does -- or seems ultimately unable to do -- with that sound, this Kempe set could well be the very finest of all: fully as warm as Kubelik, just as conversational as the studio Kna, more consistently sung than the Toscanini (putting aside Kempe's Schock). Unfortunately, Schock's lack of vocal suavity and tenderness compromises this set as much as Treptow's occasional fatigue does in the studio Knappertsbusch.
The second Solti is such a feast for the ears, both vocally and sonically, if not for the heart, that there have been times when I've wondered when Wagner's music has ever sounded so beautiful. But with the Toscanini now being made available in improved sound, if not comparable to the superb sonics in this Solti, and with the Toscanini boasting just as fine an overall cast with superior conducting to boot, the Solti with its similar range of virtues and (somewhat) less engaged conducting now gets slotted in alongside it. This is certainly one clear instance in which the advent of the ANDANTE Toscanini has changed substantively the face of the Meistersinger discography, in my view.
Just to clarify, I wouldn't think it necessarily unfortunate were one to choose any of these four --- the Toscanini, the studio Knappertsbusch, the second Kempe or the second Solti -- as one's introduction to Meistersinger. It's just that I find the Kubelik marginally more inviting and well-rounded in its combination of a generally strong ensemble, very fine conducting and reasonably reliable sonics.
In the third tier:
Bodanzky; Abendroth; "live" Jochum; Karajan (his first); "live" Kna.
These are, for me, the so-called "niche" recordings.
The Bodanzky is the most superbly sung of all. The Abendroth boasts the most superb uncut Hans Sachs of all. The "live" Jochum is the most vividly characterized. The first Karajan is the most genial and amusing. The "live" Kna is the most superbly conducted (of all the ones itemized here, that is, since the best-conducted of all remains the Furtwaengler, while the singing there is so depressingly lacklustre that it simply does not rate).
Our understanding of Wagner's score would be the poorer without each and every one of the five sets in this third tier, but I might still demur at choosing any single one of them as one's introduction to Wagner's masterpiece. One shouldn't, it strikes me, get introduced to Meistersinger via cuts and very ho-hum sound (the Bodanzky), one's first Meistersinger should not have as effortful a Walther as the unsuitable Suthaus or the ungainly Hopf (however young Suthaus is with Abendroth and however sparkling the humor be on the first Karajan or inspired the conducting be on the "live" Kna), and one shouldn't have as one's first Eva a vocal persona who seems older than the Magdalene(!) (the "live" Jochum).
I admire these 5 sets because there are certain things that emerge more distinctively on them than anywhere else, but they're only recommended after one has already learned the opera well via one of the other five sets cited further up (in fact, I don't now own either the Abendroth or the "live" Kna -- that could change, of course).
Part IV -- Breaking it down even further:
For overall vocalism (subjective, of course), putting aside the conductor and the sound quality, the best are the Bodanzky, the Toscanini and the Solti II. The studio Kna and the Kubelik almost equal these in that respect, but not quite. The Kempe II doesn't really, although it has certain individual peaks not matched anywhere else.
1. Bodanzky
2. Toscanini
3. Solti (his second)
4. Knappertsbusch (studio); Kubelik
5. Kempe (his second)
O.K.:
6. Abendroth
7. Jochum ("live"); Karajan (his first); Knappertsbusch "live"
Hans Sachs rankings (subjective, of course):
1. Friedrich Schorr
2. Paul Schoeffler on Abendroth
3. Paul Schoeffler on the studio Kna
4. Hans Hotter
5. Otto Edelmann/Ferdinand Frantz/Hans Hermann Nissen/Thomas Stewart/Jose Van Dam
Eva rankings (subjective, of course):
1. Elisabeth Schwarzkopf
2. Elisabeth Rethberg/Hilde Gueden/Lisa Della Casa/Elisabeth Gruemmer/Gundula Janowitz/Karita Mattila
3. Maria Reining/Hilde Scheppan
POOR:
4. A. Kupper
Walther rankings (subjective, of course):
1. Sandor Konya
2. Ben Heppner
3. Rene Maison/Henk Noort
4. Gunther Treptow on the "live" Jochum
5. Gunther Treptow on the studio Kna
6. Rudolf Schock
7. Ludwig Suthaus
8. Hans Hopf
Conductor rankings (subjective, of course):
For geniality, they all have it to a degree, even Solti II, though only in spots. For conducting, Kna, Kempe, Jochum, the young Karajan and Kubelik are tops, with Bodanzky/Toscanini very closely behind them. Abendroth and Solti are generally satisfying but not on a par with the others.
1. Hans Knappertsbusch "live"
2. Rudolf Kempe (his second)
3. Eugen Jochum "live"
4. Hans Knappertsbusch (in the studio)
5. Herbert von Karajan (his first)
6. Rafael Kubelik
7. Artur Bodanzky
8. Arturo Toscanini
9. Herman Abendroth
10. Georg Solti (his second)
For sound quality, the stereo Kubelik and Solti II are the best. Theoretically, the mono Kna and Kempe II, both made in the professional recording studio, ought to be on the next level sonically, but they are each oddly opaque, in varying ways, for their time, and with there being some wonderfully "present" moments in the restored Toscanini, in the Abendroth, in the "live" Jochum, as well as in a few others, giving a wonderful "depth" of stage perspective, the studio-made Kna and Kempe II can sometimes pale by comparison, notwithstanding their greater sonic consistency in general. Ultimately, of course, the Kna and Kempe II are free of the (very occasional) distortion heard in certain "live" sets.
1. Kubelik; Solti (his second)
2. Von Karajan (his first); Knappertsbusch (studio); Kempe (his second)
3. Abendroth; "live" Jochum; "live" Knappertsbusch
4. Toscanini (ANDANTE)
Hoping this may prove useful to some,
-- Geoffrey Riggs
MARIA CALLAS (1923 - 1977) -- HER BEST RECORDINGS IN GOOD SOUND
CARMEN -- FROM COMEDY TO TRAGEDY
ENRICO CARUSO (1873 - 1921) -- A BRIEF APPRECIATION
FRANCO CORELLI (1921 - 2003) -- RECOLLECTIONS AND REFLECTIONS
DON CARLOS -- RANDOM JOTTINGS
DONIZETTI AND BRINKMANSHIP
GREATEST SINGER?
THE TENOR AND RICHARD WAGNER (1813 - 1883)
RECALLING ROBERT MERRILL (1917 - 2004)
NORMA -- TRADITIONS LOST AND RESTORED
PARSIFAL ON DISC -- THE STRONGEST ENTRIES
HISTORY OF OPERA IN MINIATURE
RICHARD TAUBER (1891 - 1948) -- A BRIEF APPRECIATION
VIOLETTA IN LA TRAVIATA
PARTIAL OVERVIEW OF TRISTAN ON CD
IL TROVATORE ON DISC -- THE STRONGEST ENTRIES
UPCOMING SINGERS
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text:
Fremont, NE (N Clarkson St / E 19th St)
N Clarkson St / E 19th St
About Fremont, NE (N Clarkson St / E 19th St)
N Clarkson St / E 19th St median real estate price is $111,824, which is less expensive than 72.8% of Nebraska neighborhoods and 79.9% of all U.S. neighborhoods.
The average rental price in N Clarkson St / E 19th St is currently $902, based on NeighborhoodScout's exclusive analysis. Rents here are currently lower in price than 64.8% of Nebraska neighborhoods.
N Clarkson St / E 19th St is an urban neighborhood (based on population density) located in Fremont, Nebraska.
N Clarkson St / E 19th St real estate is primarily made up of small (studio to two bedroom) to medium sized (three or four bedroom) single-family homes and small apartment buildings. Most of the residential real estate is occupied by a mixture of owners and renters. Many of the residences in the N Clarkson St / E 19th St neighborhood are older, well-established, built between 1940 and 1969. A number of residences were also built before 1940.
Home and apartment vacancy rates are 10.4% in N Clarkson St / E 19th St. NeighborhoodScout analysis shows that this rate is lower than 42.4% of the neighborhoods in the nation, approximately near the middle range for vacancies.
The way a neighborhood looks and feels when you walk or drive around it, from its setting, its buildings, and its flavor, can make all the difference. This neighborhood has some really cool things about the way it looks and feels as revealed by NeighborhoodScout's exclusive research. This might include anything from the housing stock to the types of households living here to how people get around.
Notable & Unique: People
One of the really interesting characteristics about the N Clarkson St / E 19th St neighborhood is that, according to NeighborhoodScout's exclusive research, it is an excellent choice in which to reside for college students. Due to its popularity among college students who already choose to live here, its walkability, and its above average safety from crime, the neighborhood is ideal for prospective or already-enrolled college students. Between semesters and during school breaks, you'll notice that the excitement here fluctuates with the college seasons. Despite the excitement however, parents of college-age children can rest easy knowing that this neighborhood has an above average safety rating. For each of these reasons, the neighborhood is rated among the top 0.4% of college-friendly places to live in the state of Nebraska.
Notable & Unique: Length of Commute
Whether walking, biking, riding, or driving, the length of one's commute is an important factor for one's quality of life. The N Clarkson St / E 19th St neighborhood stands out for its commute length, according to NeighborhoodScout's analysis. Residents of the N Clarkson St / E 19th St neighborhood have the pleasure of having one of the shortest commutes to work of any neighborhood in America. 64.0% of the residents have a commute time from home to work (one way) of less than fifteen minutes. This is a higher proportion of residents enjoying a short trip to work than NeighborhoodScout found in 96.9% of U.S. neighborhoods. Less time commuting means more time for other things in life.
Did you know that the N Clarkson St / E 19th St neighborhood has more Swedish and Danish ancestry people living in it than nearly any neighborhood in America? It's true! In fact, 9.7% of this neighborhood's residents have Swedish ancestry and 3.1% have Danish ancestry.
The neighbors in the N Clarkson St / E 19th St neighborhood in Fremont are lower-middle income, making it a below average income neighborhood. NeighborhoodScout's research shows that this neighborhood has an income lower than 70.2% of U.S. neighborhoods. With 14.7% of the children here below the federal poverty line, this neighborhood has a higher rate of childhood poverty than 51.4% of U.S. neighborhoods.
In the N Clarkson St / E 19th St neighborhood, 35.3% of the working population is employed in sales and service jobs, from major sales accounts, to working in fast food restaurants. The second most important occupational group in this neighborhood is manufacturing and laborer occupations, with 27.5% of the residents employed. Other residents here are employed in executive, management, and professional occupations (20.3%), and 16.9% in clerical, assistant, and tech support occupations.
The languages spoken by people in this neighborhood are diverse. These are tabulated as the languages people preferentially speak when they are at home with their families. The most common language spoken in the N Clarkson St / E 19th St neighborhood is English, spoken by 88.8% of households. Other important languages spoken here include Spanish and Polish.
Culture is shared learned behavior. We learn it from our parents, their parents, our houses of worship, and much of our culture – our learned behavior – comes from our ancestors. That is why ancestry and ethnicity can be so interesting and important to understand: places with concentrations of people of one or more ancestries often express those shared learned behaviors and this gives each neighborhood its own culture. Even different neighborhoods in the same city can have drastically different cultures.
In the N Clarkson St / E 19th St neighborhood in Fremont, NE, residents most commonly identify their ethnicity or ancestry as German (34.7%). There are also a number of people of Irish ancestry (10.2%), and residents who report Swedish roots (9.7%), and some of the residents are also of English ancestry (9.1%), along with some Mexican ancestry residents (6.1%), among others.
Even if your neighborhood is walkable, you may still have to drive to your place of work. Some neighborhoods are located where many can get to work in just a few minutes, while others are located such that most residents have a long and arduous commute. The greatest number of commuters in N Clarkson St / E 19th St neighborhood spend under 15 minutes commuting one-way to work (64.0% of working residents), one of the shortest commutes across America.
Here most residents (81.1%) drive alone in a private automobile to get to work. In addition, quite a number also carpool with coworkers, friends, or neighbors to get to work (11.4%) . In a neighborhood like this, as in most of the nation, many residents find owning a car useful for getting to work.
AGE OF Fremont, NE (N Clarkson St / E 19th St) HOMES
TYPE OF Fremont, NE (N Clarkson St / E 19th St) HOMES
SIZE OF Fremont, NE (N Clarkson St / E 19th St) HOMES
Employment Industries in N Clarkson St / E 19th St
in N Clarkson St / E 19th St
in Fremont
in Nebraska
Fremont VIOLENT CRIMES
Fremont Property CRIMES
65 Vital Statistics. 12 Condition Alerts found.
Schools In This Neighborhood
FREMONT PUBLIC SCHOOLS
District Quality Compared to Nebraska
Better than of NE school districts.
Non-metropolitan Nebraska regional investment potential
Housing Affordability Trends: Non-metropolitan Nebraska
Popular real estate near N Clarkson St / E 19th St
Arlington, NE
Fremont, NE (Cedar Bluffs / Colon)
Fremont, NE (City Center / Midland U)
Fremont, NE (E 19th St / N Luther Rd)
Fremont, NE (E Military Ave / N Clarmar Ave)
Fremont, NE (N Broad St / W Linden Ave)
Fremont, NE (Route 30 / E 23rd St)
Hooper, NE
North Bend, NE
Valley, NE
89% Match ‐ Fremont, NE (E Military Ave / N Clarmar Ave)
87% Match ‐ Fremont, NE (N Broad St / W Linden Ave)
87% Match ‐ Fremont, NE (City Center / Midland U)
82% Match ‐ Inglewood, NE
82% Match ‐ Fremont, NE (E 19th St / N Luther Rd)


Professional gardening services are really hard to be found nowadays. The reason for this is because there are numerous agencies in Islington N1 and all of them are trying to beat the competition. Because of this reason it is really important to know that there are lots of people who don't know the definition of the word "professional" and are using it every time.
If you think that you are really good at something then you should have been practicing it a couple of years. We believe that we are the best when it comes to professional gardening services simply because we have really good workers with great experience and we know how to do our job with ease.
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Once you use our services you will realize why we are so popular and why so many people prefer to use us instead of other agencies.
The best thing you can do if you are in need of professional gardening services is to give us a call as soon as possible.
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Our gardeners are professionally trained and adequate to deal with a variety of gardening tasks, and they would love to take care of your garden too. If your garden needs mowing, trimming, edging, pruning, clearance, etc, contact our company and hire our amazing gardeners for help.
Our company operates here in Islington N1 and we would love to help you get a perfect looking garden. You can of course, hire our gardeners for regular maintenance, for as often as you need them. And we are offering you our professional gardening services for very attractive prices, so feel free to call us any time.


Martha Ethel (Mattie) McNee was born in 1877 in New South Wales.
She was the daughter of Hugh McNee and Annie McCoy.
Martha Ethel (Mattie) McNee and Annie McCoy appeared on the Electoral Roll in 1930 living at Crow's Nest. They carried out home duties.
Martha Ethel (Mattie) McNee appeared on the Electoral Roll in 1943 living at Crow's Nest. She carried out home duties.
Martha Ethel (Mattie) McNee died on 18 February 1961 in Queensland.
She was buried on 20 February 1961 in Crow's Nest Cemetery.
Patrick McNee was born in 1872 in New South Wales.
He was the son of Hugh McNee and Annie McCoy.
Patrick McNee married Ada Tasker circa 1900.
Patrick McNee died on 31 October 1942 in Queensland.
He was buried on 2 November 1942 in Drayton & Toowoomba Cemetery.
Ethel Ida McNiff was born in 1903 in New South Wales.
She was the daughter of Patrick McNiff and Ida Ethelinda L Johnston.
At the age of 24 years, Ethel Ida McNiff married William Rose Pepper in 1927 in New South Wales.
In 1949,her husband, William Rose Pepper died in New South Wales.
Ethel Ida McNiff died in 1968 in New South Wales.
George Reynolds McNiff was born in 1899 in New South Wales.
He was the son of Patrick McNiff and Ida Ethelinda L Johnston.
At the age of 22 years, George Reynolds McNiff married Ivy Louisa Shipman in 1921 in New South Wales.
George Reynolds McNiff died in 1952 in New South Wales.
Hector James McNiff was born on 15 March 1921 in New South Wales.
He was the son of Hector Leslie James McNiff and Margaret Dufficy.
Hector James McNiff enlisted in the Royal Australian Airforce on 16 June 1942 in Queensland He was living at Clunes at the time of enlistment. His service number was 76818. He was discharged on 26 March 1945 with the rank of Leading Aircraftman form the 3 RAAF Hospital.
Hector James McNiff died in 1967 in New South Wales.
Hector Leslie James McNiff was born in 1898 in New South Wales.
Hector Leslie James McNiff enlisted in the AIF, 41st Battalion on 6 January 1917 in Queensland He was living at Clunes on the Richmond River at the time of enlistment, was 18 years and 11 months old and listed his father Patrick of Clunes as his next of kin. His service number was 670. He served in France. He was discharged from the Army in Brisbane 19 March 1919 as medically unfit.
At the age of 22 years, Hector Leslie James McNiff married Margaret Dufficy in 1920 in New South Wales.
Patrick McNiff was born circa 1876. He was the son of Bridget and James McNiff.
Patrick McNiff married Ida Ethelinda L Johnston, daughter of James Johnston and Eliza Jane Reynolds, in 1897 in New South Wales.
Patrick McNiff died in 1932 in New South Wales.
Patrick McNiff also went by the name of Paddy.
Kathleen Mary McNulty was born in 1882. She was the daughter of Peter Henry McNulty and Eliza Elizabeth Carsons.
At the age of 18 years, Kathleen Mary McNulty married William George Burgess, son of George Burgess and Mary Ann Smith, on 2 May 1900 in Wesley Methodist Chruch, Wilmot.
Kathleen Mary McNulty died in 1958 in Victoria.
William Herbert McNulty was born on 7 December 1899 in Queensland. He was the son of Elizabeth Ellen Kraft and Thomas McNulty of Moyston near Yuleba.
Between 1924 and 1925 played cricket for the Yuleba Cricket Club. He was also a member of the Yuleba Rife Club.
At the age of 43 years, 2 months and 25 days, William Herbert McNulty married Kathleen McRae, daughter of John Alexander McRae and Ellen Philomina Barry, on 4 March 1943 in Queensland. They settled at Mostyn, Yuleba.
William Herbert McNulty died on 10 September 1983 in Queensland at age 83.
He was buried in Yuleba Cemetery.
Edith Jane McPaul was born in 1874 in New South Wales. She was the daughter of George McPaul and Mary Hanscombe.
At the age of 25 years, Edith Jane McPaul married Robert Winfred Leemon, son of William Leemon and Sarah Blacka, in 1899 in New South Wales.
Edith Jane McPaul and Robert Winfred Leemon appeared on the Electoral Roll in 1908 living at Cooby Creek. Robert was a farmer.
Edith Jane McPaul and Robert Winfred Leemon appeared on the Electoral Roll in 1916 living at Anduramba. Robert was a farmer.
Edith Jane McPaul and Robert Winfred Leemon appeared on the Electoral Roll in 1922 living at Villeneuve. Robert was a dairy farmer as was their son William.
Edith Jane McPaul died in 1953 in Queensland.
Agnes Christina McPhail was born on 11 December 1888 in Queensland.
She was the daughter of John McPhail and Mary Ellen McGrath.
Agnes Christina McPhail commenced school at Emu Creek State School in 1893.
At the age of 21 years, 9 months and 16 days, Agnes Christina McPhail married George King, son of George King and Mary Russell, on 27 September 1910 in Queensland. They farmed in Blackbutt for some time before moving to Monto.
Agnes Christina McPhail and George King appeared on the Electoral Roll between 1913 and 1914 living at Cherry Creek, Blackbutt. George (listed as George Jnr) was a farmer.
Agnes Christina McPhail and George King appeared on the Electoral Roll between 1917 and 1925 living at Cherry Creek, Blackbutt. George was a farmer.
Agnes Christina McPhail and George King appeared on the Electoral Roll in 1937 living at Bancroft. George was a farmer. Their son John Ivor and daughter Mary Agnes were also living there.
In March 1967,her husband, George King died at age 88.
Agnes Christina McPhail died in March 1969 in Queensland at age 80.
She was buried on 9 March 1969 in Monto Cemetery.
Allan George McPhail was born on 8 July 1910 in Queensland.
He was the son of Thomas George McPhail and Anna Bertha Joanna Hornke.
Allan George McPhail died between 1960 and 1969.
Andrew McPhail was born in 1892 in Queensland.
He was the son of John McPhail and Mary Ellen McGrath.
Andrew McPhail died in August 1893 in Queensland.
He was buried on 14 August 1893 in Drayton & Toowoomba Cemetery.
Archibald McPhail was born in 1811 in Scotland.
Archibald McPhail married Jane Macfarlane circa 1846.
Archibald McPhail immigrated to Moreton Bay on 13 October 1863. Archibald,43, a widow, travelled on the Rockhampton with his two sons John aged 16 and George 14. Two more children Agnes and Andrew arrived 10 years later. They had been raised by relatives until they were old enough to travel to Australia.
Archibald McPhail died in December 1878 in Queensland.
He was buried on 12 December 1878 in Drayton & Toowoomba Cemetery.
Archibald McPhail was born in 1875 in Queensland.
At the age of 23 years, Archibald McPhail married Elizabeth Edith Forsythe in 1898 in Queensland.
On 20 June 1911,his wife, Elizabeth Edith Forsythe died in Queensland.
Archibald McPhail died on 9 May 1955 in Queensland.
He was buried on 11 May 1955 in Greenmount Cemetery.
Archibald Donald McPhail was born in 1904 in Queensland.
He was the son of Archibald McPhail and Elizabeth Edith Forsythe.
Audrey Stella McPhail was born in 1905 in Queensland.
She was the daughter of Archibald McPhail and Elizabeth Edith Forsythe.
Colin Andrew McPhail was born on 8 July 1920 in Queensland.
Colin Andrew McPhail died in August 1995 at age 75.
Ellen Grace McPhail was born on 17 November 1879 in Queensland.
At the age of 21 years, 7 months and 15 days, Ellen Grace McPhail married John Swain, son of Frederic John Baynham Swain and Caroline Phelps, on 2 July 1901 in Plainby. They lived at Hillview Plainby, but moved to Kunioon around 1906 after the birth of their first child Grace at their home.
Ellen Grace McPhail and John Swain appeared on the Electoral Roll in 1903 living at Bergen. John was a farmer.
Ellen Grace McPhail died on 3 May 1953 in Queensland at age 73.
Ena Margaret McPhail was born on 28 May 1914 in Queensland.
She was the daughter of Thomas George McPhail and Anna Bertha Joanna Hornke.
Ena Margaret McPhail died on 3 November 2001 in Dickey Beach at age 87.
George McPhail was born in 1849 in Scotland.
He was the son of Archibald McPhail and Jane Macfarlane.
George McPhail immigrated on 13 October 1863 to Moreton Bay with Archibald McPhail. Archibald,43, a widow, travelled on the Rockhampton with his two sons John aged 16 and George 14. Two more children Agnes and Andrew arrived 10 years later. They had been raised by relatives until they were old enough to travel to Australia.
At the age of 23 years, George McPhail married Margaret Osborne McDonald in 1872 in Queensland.
George McPhail died in 1923 in Queensland.
Gladys Bertha McPhail was born on 12 May 1909 in Queensland.
She was the daughter of Owen Augustus McPhail and Bertha Katherina (Kate) Weber.
At the age of 19 years, Gladys Bertha McPhail married George Walter Harth, son of Johann Heinrich Harth and Anna Catherine Magdeline Peters, in 1929 in Queensland.
Gladys Bertha McPhail died on 22 August 2002 in Sundale Retirement Village, Nambour, at age 93.
Jane McPhail was born on 17 September 1877 in Drayton, Queensland.
At the age of 21 years, 1 month and 8 days, Jane McPhail married Frederick Swain, son of Frederic John Baynham Swain and Caroline Phelps, on 25 October 1898 in Pierce Creek, Queensland. They settle on their farm "Hillview", Plainby.
On 19 February 1900,her husband, Frederick Swain died in Queensland at age 24. He suffered from a burst appendex. After Frederick's death, Jane went to live with the Swain family (perhaps her sister Grace). Their son Frederick Baynham was born in November that year. Sometime after his birth, Jane went to work for John JOBSON, whom she later married.
Jane McPhail appeared on the Electoral Roll between 1903 and 1908 living at Plainby. She most likely lived with her mother in law Caroline Swain and sister in law Edith Swain.
She appeared on the Electoral Roll in 1908 living at Plainby. She carried out home duties.
At the age of 31 years, 11 months and 2 days, Jane McPhail married John Thomas Jobson, son of Edward Jobson and Rebecca Holmes, on 19 August 1909 in Plainby. Jane operated a telephone exchange in the house at Plainby while John conducted his blacksmithing business in the yard outside. The telephone exchange was also the local Post Office.
Jane McPhail died on 25 August 1945 in Plainby at age 67.
Jane Walker McPhail was born in 1859.
At the age of 25 years, Jane Walker McPhail married Henry Primmer, son of Joseph Primmer and Ann Hurst, on 2 January 1884 in New Zealand.
Before 1907 Henry left his family and perhaps went to live in Sydney, Australia.
On 3 September 1907,Jane Walker McPhail's son, Harold Alexander Primmer was buried in Linwood Cemetery at age 15. Harold's funeral notice appeared in the Press newspaper. It suggests that his father Henry was not living with the family at the time "Friends of Mrs J. Primmer are invited to attend the Funeral of her late son Harold Alexander, leaving her residence, 4l Hereford street, Linwood, This Day (Tuesday), the 3rd inst. at 11.30 a.m., for the Linwood Cemetery. J. LAMB and SON."
Jane Walker McPhail died on 8 November 1946 in Wellington, New Zealand.
Jessie Margaret McPhail was born on 5 October 1894 in Queensland.
Jessie Margaret McPhail appeared on the Electoral Roll between 1930 and 1943 living at Pierce Creek. She carried out home duties.
Jessie never married and remained on her parents property at Pierce's Creek until her death, her brother Les having signed his share of the property over to Jessie in 1937. She grew and picked cotton.
Jessie Margaret McPhail died on 19 July 1991 in Crow's Nest at age 96.
She was cremated on 22 July 1991 in Garden of Remembrance, Toowoomba, It is believed by family members that her ashes were scattered on the farm by a nephew.
John McPhail was born in 1848 in Scotland.
John McPhail immigrated on 13 October 1863 to Moreton Bay with Archibald McPhail. Archibald,43, a widow, travelled on the Rockhampton with his two sons John aged 16 and George 14. Two more children Agnes and Andrew arrived 10 years later. They had been raised by relatives until they were old enough to travel to Australia.
At the age of 26 years, John McPhail married Mary Ellen McGrath, daughter of Owen McGrath and Ellen Smith, in 1874 in St Matthews Church, Toowoomba.
In 1894 moved to the Plainby area. According to the book "From Tall Timbers" Between 1885 and 1889, most of the available land at Plainby was settled, being Homestead Selections for 2s. 6d. Per acre. In 1894, J McPhail came to the Plainby area for a few years. He bought milk and made cheese. When he gave up making cheese, the Silverwood Butter Factory ran a separator on his property, buying milk from the farmers. Later the farmers separated their own milk and sent cream direct to the Crow's Nest Butter Factory.
Around 1898 Thomas selected land at Pierce's Creek which he named "Boscobel" . His daughter Jessie lived until her old age.
John McPhail and Mary Ellen McGrath appeared on the Electoral Roll in 1903 living at Djuan. John was a farmer.
John McPhail and Mary Ellen McGrath appeared on the Electoral Roll in 1930 living at Pierce Creek. John was a farmer.
John McPhail died on 11 August 1932 in Queensland.
He was buried on 12 August 1932 in Drayton & Toowoomba Cemetery.
John Donald McPhail was born on 26 October 1883 in Queensland.
At the age of 23 years, 5 months and 1 day, John Donald McPhail married Florence Mabel Ball, daughter of John Hodge Ball and Barbara Connell, on 27 March 1907 in Victoria.
On 30 September 1912,his wife, Florence Mabel Ball died in Christmas Estate, Queensland, at age 24.
At the age of 30 years, 6 months and 3 days, John Donald McPhail married Ruby Mary Ball, daughter of John Hodge Ball and Barbara Connell, on 29 April 1914 in Queensland.
John Donald McPhail died on 10 May 1967 in Victoria at age 83.
John Owen McPhail was born in 1903 in Queensland.
Keneth Owen McPhail was born on 9 December 1912 in Queensland.
He was the son of Owen Augustus McPhail and Bertha Katherina (Kate) Weber.
Keneth Owen McPhail appeared on the Electoral Roll in 1934 living at Goombungee. Ken was a labourer.
Keneth Owen McPhail married Grace Elizabeth Coleman circa 1945.
Keneth Owen McPhail and Grace Elizabeth Coleman appeared on the Electoral Roll between 1949 and 1954 living at Goombungee. Keneth was a farm labourer. Elizabeth gave her address as Hawthorne.
Keneth Owen McPhail died in February 2012 at age 99.
He was buried on 6 February 2012 in Goombungee Cemetery. MULDOM2-00A-0008.
Laura Isabel McPhail was born in 1908 in Queensland.


We provide personalized, professional service to all clients, regardless of transaction size.
The availability of on-line real estate data services levels the playing field between large and small brokerage companies. This allows The Bates Company to provide clients with the same real estate information and data as the larger companies and customize it to their particular requirements.


Amani Apartments Watamu is a two privately owned first floor apartments within the secure compound of Amani Resort. The apartment offers a perfect getaway to relax and unwind away from the daily work. They are adjoining apartments.


Now, I am going to be very honest with you, by big person I do of course mean bigger or fat person. My husband and I are both on the larger side so be assured that this blog hasn't been written by someone who has a "theory" or "idea" of what they are talking about.
Just to give you an idea, when we went to Australia and Greece I was a size 20, when we went to America, Dublin and Italy I was a size 24. My husband is larger than me as well and this blog is all about what we do before booking a flight and what to do during the flight. We know what we are talking about :-). Most of these tips are for couples but it can be applied for people travelling on their own as well.
You can get the seat measurements for any airline and plane by simply going to The Seat Guru where you will be able to find all the seat measurements for every airline on short or long haul flights. Get the measurements and then with a tape measure and some books, you can work out if you will be comfortable or not. Simply place the books upright along the measuring tape so that they are the same as the seats and then try to sit between the books. If they tilt a little bit, you will be fine but if they tilt a lot, it's a no no. You will not be comfortable.
If you are flying on a 747, check the seating plan and you will see that at the back of the plane, on either side there will be a few rows of just 2 seats. We always go for those seats because you have so much more room. There will be a gap of about half a foot between your chair arm and the window, the middle arm rest is adjustable so once you are in the air you can lift it up, you can stand behind your seats if you need to get up and one of you will have an aisle seat so more room again. We did this on our trip to Australia with Emirates and to America with Virgin Atlantic and it can be so comfy as the pair of you are technically sat on your own and it does feel like you have more room. One thing we really like about these seats is that we can have a cuddle, my husband can put his arm round my shoulders and I can put my arm around his belly and we don't have the armrest poking in either of our sides. Plus, the toilets at the back of the plane are usually bigger than the ones at the front so you will be closer to a toilet too.
People who are bigger usually aren't allowed to get seats at the very front, back or in the row in the middle next to the emergency exit, even though these have more legroom and would make things easier. So your best bet is to get an aisle seat and then you won't have someone on one side of you. When we went to Kos with EasyJet, we couldn't pick our seats as it was a package holiday through Thomas Cook but we were sat together, we just had the aisle between us. This was comfortable but just a bit strange not sitting right next to each other.
We have heard stories before of people being weighed at the airport and being told that they are too heavy so they have to buy another seat. This has never happened to us but my husband always makes me check before I book flights to see if there is any mention in the terms and conditions. I have never found it in any airlines we have flown with but it is always worth checking.
Get the flight socks if you wish but if you have big carves like my husband, they will either feel very constricting or keep rolling down your leg even though we get him the biggest size we can find. We wore them to Australia and America but didn't on the way back as we had longer stops between flights so we made sure we did a lot of walking when we could.
Sometimes having stops are a blessing, when we went to Australia, it was 28 hours from Gatwick to Hobart and 33 and a half hours from Hobart to Gatwick. We stopped in the same places on both journeys but we had a few more hours in them. We stopped at Dubai, Singapore and Melbourne so it was a minimum of 8 hour flights. At each stop we had to go through security and had time for a look round duty free so used the time wisely to keep walking.
Obviously because we are bigger, it is even more important to do in-flight exercises to not only stop blood clots but to also keep good blood circulation and stop cramping. The ones I do can be done standing up or sitting down, simply put your feet flat on the floor and raise your toes upwards as high as you can without taking your heel off the floor. Hold for 10 seconds and then put your toes back now. Now lift your heels from the floor but keep your toes on the ground. If you have a bit of legroom, try lifting your feet off the floor, pointing your toes out in front of you so that you are stretching your feet and calves. Do this as long as it feels comfortable, you don't need to do it throughout the whole flight, just for 10 minutes every now and then. Stretch your arms out above you and if you are able to, stretch them out to the sides as well. Stand up and make sure you have a little walk to stretch out your arms and legs as well.
My husband has needed a belt extension for a while now and what he does is speak to one of the flight crew as we board the plane. He just quickly says to them "could I have a belt extender please?" and they bring it along to him once everyone is in their seats or when more or less everyone is on the plane. The plane has them as a standard so if you need one, just ask. We have had it on recently flight with EasyJet coming back from Italy where my husband was on the aisle seat and I was in the middle, we both needed a belt extension and seeing as it wasn't a full flight, the lady in the window seat was asked if she wouldn't mind moving to a spare seat so that everyone had more room. This meant that my husband and I had the 3 seats to ourselves, now I thought this was great and nice of the airhostess to think of it but my husband found it quite embarrassing. I don't think the airhostess as trying to be nasty or show us up, I really do think she was just trying to make everyone comfortable.
Always drink plenty of water on a flight, its so easy to get dehydrated on a flight but make sure you ask for bottles of water or buy some big bottles in duty free.
Might sound a little strange but it always makes me feel so much better. I get in my seat and take my shoes off so that I can properly stretch out my feet and toes, it's just feels a little more comfortable.
I hope this has helped you in some way and given you something to think about before you next travel so that you are more comfortable.


the beyond bizarre ghost tour for those who want to experience a real paranormal investigation in Portland. The tour offers an overview of the different types of spirits, including Residuals, Object Hauntings and Poltergeists. You will also descend below ground to attempt to locate Nina, who haunts 1885 Merchant Hotel. The tour is offered on Friday, Saturday and Sunday evenings, the family friendly tour leaves at 7 PM with the over 18 tour departing at 10 PM. Tours depart from the Big Red Arrow Concierge Commons in the Merchant Hotel Building. Bring your own ghost hunting gear or you can purchase a gear bundle. Prices range from $9 (kids 5-10) to $29 (adults on the 18+ tour). They also offer an Underground Portland tour through Old Town and Chinatown that explores the literal and metaphorical underground sections of Portland. The tour descends underground at the Merchant Hotel after a 3/4 mile walk, while the guide offers tales of scandal, immorality, and vice.
Happy #snow day #inPDX! We're still out giving #tours, but in case you want to stay cozy inside today, here's a 30% discount on all #PortlandWalkingTours #GiftCertificates!
Who knew there were so many quirky museums #inPDX?!
Need last minute chocolate for Valentines Day #inPDX? Check out local chocolatiers and taste away.
These seven Portland candy artisans craft unique sweets, be they creamy cacao confections, rainbow-colored candies or salty-sweet treats.